And going down, acknowledge. Unto him.
All things are present: he hath no beginning-
Will have no end-himself the origin

And end of all things: all futurity,

Thousands of ages back, he sees into:

All things hath he made, and o'er all his works
Watches with providential care: his Spirit
In no material Body is confin'd,

And to no place; but ev'ry where lives, moves,
Boundless and infinite-the source of Truth-
The fountain of all good-Omniscience,
Omnipotence supreme of th' universe,
That can do whatsoe'er it wills to do.

He made the heav'n's concave, and fix'd the earth
Upon her pillars; what was heavy caus'd
To fall-the lighter elements t' ascend :-
All things their motion have thro' him-himself
Immovable, one and the same both now
And ever: yet three persons in one God:
For, first, he is the Father of all things,
Who with almighty hand directeth all;
Next, from th' eternal Father is the son, &c.

It would fill our pages too much to translate more at length. We omit the rest of this dialogue, and also that between Adam and Eve in the same act, which, with the exception of a few particular passages cited elsewhere, are the only remaining fragments of this tragedy of which we are possessed through the medium of the miscellany where we have become acquainted with_them. In the seventh and eighth books of Paradise Lost, Raphael and Adam converse together in a similar spirit. The language, however, is, with a very few exceptions, quite different in the two authors; and judging only from the partial view we have had of the Adamus exul, Milton has treated this part of his subject, like the rest, without any servile dependence upon any one work, but accumulated upon it his various resources, and ennobled it by the vigor and majesty of his fertile and sublime genius. These presumed exceptions we will now proceed to notice, including the particular passages cited by Lauder, from other parts of the tragedy. In the seventh book, Adam thus addresses the Angel:

"Deign to descend now lower, and relate
What may no less perhaps avail us known,
How first began this Heav'n which we behold
Distant so high, with moving fires adorn'd
Innumerable, and this which yields, or fills,

All space, the ambient air wide interfus'd,
Embracing round this florid earth.-

p. 85.

We can scarcely pronounce this an imitation-yet Grotius, Act II, has language very similar:

Age! si vacabit (scire nam perfectius
Quæ facta fuerint, ante me factum potes)
Narra petenti, quomodo, quoque ordine,

Tam magna numeris machina impleta est suis.

(I prithee, if thy time permits, relate

(For thou must have full knowledge of all things
Which have been made anterior to me)
Relate, for I am curious to know,

The mode and order of the wondrous motions
Which fill and move this complex, vast machine.)

And the Angel then describes the creation out of chaos. So in Milton: but the subjects are treated differently.

MILTON.

There is a slight resemblance between the following in the eighth book, and the passage translated in the second act: "To whom thus Raphael answer'd, heav'nly, meek. Nor are thy lips ungraceful, sire of men, Nor tongue ineloquent; for God on thee Abundantly his gifts hath also pour'd Inward and outward both, his image fair:"

v. 220.

GROTIUS. Oh, bless'd of creatures! thou, within whose soul
The noble image of the great God shines; &c.

Interpolation, according to Newton:

Innominata quæque nominibus suis,
Libet vocare propriis vocabulis.

MILTON.

Another:

ACT. III.

"Things by their names I call, tho' yet unnam'd."

Terrestris orbis rector! & princeps freti!
Cœli solique soboles !

MILTON. "Offspring of heaven and earth! and all earth's lord!"

ACT IV.

Quod illum animal, tramite obliquo means,

Ad me volutum flexili serpit viâ?

Sibila retorquet ora, setosum caput,

Trifidamque linguam vibrat: oculi ardent duo,

Carbunculorum luce certantes rubrâ.

Adrecta cervix surgit, et maculis nitet
Pectus superbis: cœrulis picti notis
Sinuantur orbes: tortiles spiræ micant

Auri colore: lubricum longos sinus

Tendit volumen: terga se in gyros plicant.
Nunc se reclinat flexile in collum capul,

Retro que spectat, quodque caudæ proxumum
Nodatur agmen lumine adverso videt.

Quodcumq; tandem est proprius huc ad me venit.
Pronos propinqua fundit anfractus viâ,

Longosque tractus pedibus advolvit meis.

Adtollit ora: miror an queat et loqui.

Which we translate, omitting the line "Carbunculorum luce certantis rubrâ," as an interpolation:

(What animal is that which rolls this way,
Moving sidelong upon its tortuous path?
That writhes his hissing mouth and hairy head,
And brandishes a triple tongue-with eyes
Of fire his crest he holds erect on high,
And glitt'ring neck superbly speckled o'er
With verdant-spotted fold on fold involv'd—
And circling spires that shine with burnish'd gold,
Coil'd on his rear in volumes smooth;-with train
That floats redundant:-now reclines his head
Upon his supple neck, and looks behind,
With gaze revers'd, upon the knotted wreaths
That taper flowing to his tail. And now-
Whate'er it be-it doth approach me nearer!
And gliding forwards, undulates its waves
Extended, till it lengthens out its tract
Beneath my very feet! It lifts its head-
I wonder if the creature, too, can speak!)

Milton:

"So spake the enemy' of mankind, inclos'd
In serpent, inmate bad, and toward Eve
Address'd his way, not with indented wave,
Prone on the ground, as since, but on his rear,
Circular base of rising folds, that tower'd
Fold above fold a surging maze, his head
Crested aloft, and carbuncle his eyes;
With burnish'd neck of verdant gold, erect
Amidst his circling spires, that on the grass
Floated redundant:-
"" B. 9, v. 494.

With tract oblique

At first, as one who sought access, but fear'd
To interrupt, sidelong he works his way." V. 510.

oft he bow'd

His turret crest, and sleck enamell'd neck,

Fawning, and lick'd the ground whereon she trod." V. 524.
Nata Dco! atque homine sata!

(Daughter of God and man! queen of the world!
Immortal, and to be ador'd of all!)

Milton:

"Daughter of God and man, immortal Eve," b. 9, v. 291.
"Empress of this fair world, resplendent Eve," v. 568.
"Sovran of creatures, universal Dame," v. 612.

Interpolation:

Rationis etenim omnino paritas exigit,
Ego bruta quando bestia evasi loquens,
Ex homine, qualis ante, te fieri Deam.

Milton:

"That ye shall be as gods, since I as man,
Internal man, is but proportion meet:

I of brute, human; ye of human, gods."

The following, from Act 5th, from its striking resemblance to the passage quoted in the Paradise Lost, we might be apprehensive was also interpolated by Lauder; but Newton only mentions as such the last line. It is not surpassed by Milton, if it be really from Grotius:

Per sancta thalami sacra, per jus nominis
Quodcumque nostri: sive me natam vocas,
Ex te creatam: sive communi patre
Ortam, sororem: sive potius conjugem:
Cassam, oro, dulci luminis jubare tui
Ne me relinquas: nunc tuo auxilio est opus,
Cum versa sors est. Unicum lapsæ mihi
Firmamen, unam spem gravi adflictæ malo
Te mihi reserva, dum licet; mortalium
Ne tota soboles pereat unius nece:

Tibi nam relicta, quo vadam? aut ævum exigam.
(By wedlock's sacred ties-by that dear name,
Whate'er it be, thou lov'st to call me by-
Daughter, because out of thy flesh I sprang-
Or sister, since we have a common father-
Or fonder wife-ah! I entreat, conjure thee,
Do not desert me: oh! bereave me not
The light of those sweet eyes, now, when I need
Thy help in my extreme adversity:

For my sake live-thou art my only strength
That props me falling; in this deep affliction
My only hope-oh! live then, whilst thou may'st,
Nor by thy death annihilate mankind.)

Milton:

"Forsake me not thus, Adam, witness Heaven
What love sincere, and reverence in my heart
I bear thee, and unweeting have offended,
Unhappily deceiv'd: thy suppliant

I beg, and clasp thy knees; bereave me not,
Whereon I live, thy gentle looks, thy aid,
Thy counsel in this uttermost distress,

My only strength and stay: forlorn of thee,

Whither shall I betake me, where subsist? B. 9, v. 914.

Although at the expense of extending our remarks and quotations farther than we originally contemplated, we cannot, in justice to our theme, forbear a brief notice of a few other modern authors from whom Milton is supposed, with more or less of an impeachment of his originality, to have taken much of what has been usually considered excellent in his design, and in the treatment of his subject, and ordinarily attributed solely to the magnificence of his genius, and his own unaided powers of invention. In a late number of Black wood, we have introduced to us in the lists of this discussion, another modern-antique adventurer upon the sacred field-an unknown knight of the sable plume, who, after long years of imprisonment, appears to cross a lance with Milton, in order to recover some of his armour which he accuses him of having stolen, and revenge himself for the indignity so long put upon him. Mr. Guizot, in his lectures on civilization in France, it seems, has stated a question as to the originality of Paradise Lost, and discovered in the person of one Alcimus Ecdicius Avitus, a bishop of Vienna, in the year 490, known in the Roman Catholic Calendar as Saint Avitus, a French Milton who, says our informant, "chose the same identical subject, and in many respects treated it in precisely the same way." Saint Avitus' three poems (which are considered in fact but one) are De Origine Mundi, in 325 verses-De Originali Peccato, in 423 verses-and De Sententia Dei, in 435 verses. The names

of these poems, we are told, express the very argument of the Paradise Lost,-the beginning of the world—the first sin-and the judgment of God, according to the three opening lines,-"Of Man's first disobedience," etc.

The following extract from the article, discloses the method adopted by the critic in handling the subject:

"In the comparison we are going to institute, we shall take M. Gui